A Three-Hour Elizabeth Holmes Documentary Could Dethrone ‘Clayface’ at the Box Office
Halloween weekend typically favors horror films, and DC Studios was banking on this trend. ‘Clayface’, the studio’s R-rated body horror film directed by James Watkins, seemed poised to take the lead with minimal competition.
This film marks the third installment in James Gunn’s DC Universe and arrives with heightened expectations. ‘Supergirl’ debuted with $38 million this summer, ultimately grossing $126 million globally, so DC Studios is eager for a strong performance to regain momentum. With a reported budget of $40 million, ‘Clayface’ is a relatively modest investment.
However, the weekend has taken an unexpected twist. According to Variety, A24’s ‘You Can See Everything’ could earn between $20 million and $25 million as it expands to 2,600 theaters in its second weekend, putting it in direct competition with ‘Clayface’, which is projected to earn $25 million to $35 million from 3,400 North American locations.
Directed by Nathan Fielder and Lance Oppenheim, ‘You Can See Everything’ chronicles disgraced Theranos founder Elizabeth Holmes during the final days before her prison sentence. The film premiered unexpectedly at the Telluride Film Festival on September 6, capturing her last 34 days of freedom. With a runtime of 174 minutes, it has made a significant impact.
The film’s opening was historic, grossing $15.6 million from just 855 theaters, marking the largest debut for a nonmusical documentary in two decades, with a domestic total of $20.8 million to date. Boxoffice Pro reported over 2,000 sellouts nationwide, particularly attracting younger audiences drawn to Fielder’s unique access to Holmes.

If Variety’s estimates hold true, the documentary could become one of the few films to sell more tickets in its second weekend than in its first. Other forecasts are more conservative, with Boxoffice Pro estimating $15 million to $20 million, which would still secure second place, while others anticipate at least $18 million for the weekend.
TheWrap highlights that strong midweek earnings suggest a larger second weekend is likely, and the documentary could potentially take the No. 1 spot if ‘Clayface’ underperforms. Boxoffice Pro also cautions that the documentary’s rise could attract the adult audience that ‘Clayface’ aims for, despite the films being quite different.
The teaser trailer ‘YOU CAN SEE EVERYTHING,’ a documentary by Nathan Fielder and Lance Oppenheim. Thirty-four days before she’s sent to prison, Elizabeth Holmes invites a skeptical film crew to document her every move. In theaters this October. https://t.co/LHRvYLXULH
— Film Updates (@FilmUpdates) September 7, 2026
Just a week ago, ‘Clayface’ was expected to dominate easily. Variety’s own projection stands at $25 million to $35 million, while competitors suggest a softer debut around $22 million to $28 million, and Boxoffice Pro estimates $25 million to $30 million.
Those figures would still represent a solid start for a $40 million film, although it reportedly needs between $80 million and $100 million in total box office to break even based on typical industry standards. Early reactions have been positive, with initial feedback describing it as brutal and gory body horror, which could be significant in a month where horror is thriving.

There are valid reasons to believe ‘Clayface’ can still maintain its position. The documentary is intentionally unsettling, and many moviegoers may prefer to spend the weekend leading up to Halloween watching a good horror film. Additionally, competition is heating up, with ‘Wildwood’ opening on the same day with a projected $10 million to $15 million, and ‘Street Fighter’ in its second weekend.
Watch the first trailer for #Clayface. The new DC horror film is in theaters October 23. https://t.co/gqrrtJSou5
— Rotten Tomatoes 🍅 (@RottenTomatoes) April 22, 2026
Nonetheless, the fact that a documentary is even in the conversation speaks volumes about current audience preferences. Viewers have demonstrated a willingness to support something different, which may provide insights into what theatergoers are seeking at this time.
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